Vanderbilt University Press

Established in 1940, Vanderbilt University Press is the principal publishing arm of one of the nation's leading research universities. The Press's primary mission is to select, produce, market, and disseminate scholarly publications of outstanding quality and originality. In conjunction with the long-term development of its editorial program, the Press draws on and supports the intellectual activities of the University and its faculty. Although its main emphasis falls in the area of scholarly publishing, the Press also publishes books of substance and significance that are of interest to the general public, including regional books. In this regard, the Press also supports Vanderbilt's service and outreach to the larger local and national community.

Additive Schooling in Subtractive Times documents the unusually successful efforts of one New York City high school to educate Dominican immigrant youth, at a time when Latino immigrants constitute a growing and vulnerable population in the nation’s secondary schools. Based on four and a half years of qualitative research, the book examines the schooling of teens in the Dominican Republic, the social and linguistic challenges the immigrant teens face in Washington Heights, and how Gregorio Luperón High School works with the community to respond to those challenges. The staff at Luperón see their students as emergent bilinguals and adhere to a culturally and linguistically additive approach.
After offering a history of the school’s formation, the authors detail the ways in which federal No Child Left Behind policies, New York State accountability measures, and New York City’s educational reforms under Mayor Bloomberg have complicated the school’s efforts. The book then describes the dynamic bilingual pedagogical approach adopted within the school to help students develop academic Spanish and English. Focusing on the lives of twenty immigrant youth, Bartlett and García also show that, although the school achieves high completion rates, the graduating students nevertheless face difficult postsecondary educational and work environments that too often consign them to the ranks of the working poor.

From the first scholarship donated to Harvard in 1643 to today’s world of “enrollment management” and federal grants and loans, the author gives a lively social and economic history of the conflicting purposes of student aid and makes proposals for the future. His research for this book is based on archives and interviews at 131 public and private institutions across the United States.
In the words of Joe Paul Case, Dean and Director of Financial Aid, Amherst College, “Wilkinson has mined the archives of dozens of institutions to create a mosaic that details the progress of student assistance from the 17th century to the present. He gives particular attention to the origins of need-based assistance, from the charitable benevolence of early colleges to the regulation-laden policies of the federal government. He gives due consideration to institutional motive—he challenges the egalitarian platitudes of affluent colleges and questions the countervailing market and economic forces that may imperil need-based aid at less competitive institutions. By drawing on scores of personal interviews and exchanges of correspondence with aid practitioners, Wilkinson fleshes out recent decades, helping the reader to understand new trends in the provision of aid.”

This book offers a rare opportunity to read about how a scholar's teaching informs his research, in this case an examination of the nature of American conservatism. It is based on an interdisciplinary senior seminar Lyons taught in Spring 2006. His teaching log, including student comments from an electronic conferencing system, gives a vivid sense of the daily frustrations and triumphs. Lyons reflects on some of the most difficult issues in higher education today, such as how to handle racism and political passions in the classroom, as well as how a teacher presents his own political convictions.

Lyons begins with the premise that most universities have been negligent in helping undergraduates understand a movement that has shaped the political landscape for half a century. In addition, in a series of essays that frame the teaching log, he makes the case that conservatives have too often failed to adhere to basic, Burkean principles, and that the best of conservatism has often appeared as a form of liberalism from thinkers such as Hannah Arendt, Reinhold Niebuhr, and George Kennan. The essays also cover the history of conservatism, conservative use of the city-on-a-hill metaphor, and an examination of how the promise of Camelot sophistication was subverted by a resurgence of right-wing populism.

Anonymous in Their Own Names recounts the lives of three women who, while working as their husbands' uncredited professional partners, had a profound and enduring impact on the media in the first half of the twentieth century. With her husband, Edward L. Bernays, Doris E. Fleischman helped found and form the field of public relations. Ruth Hale helped her husband, Heywood Broun, become one of the most popular and influential newspaper columnists of the 1920s and 1930s. In 1925 Jane Grant and her husband, Harold Ross, started the New Yorker magazine.

Yet these women's achievements have been invisible to countless authors who have written about their husbands. This invisibility is especially ironic given that all three were feminists who kept their birth names when they married as a sign of their equality with their husbands, then battled the government and societal norms to retain their names. Hale and Grant so believed in this cause that in 1921 they founded the Lucy Stone League to help other women keep their names, and Grant and Fleischman revived the league in 1950. This was the same year Grant and her second husband, William Harris, founded White Flower Farm, pioneering at that time and today one of the country's most celebrated commercial nurseries.

Despite strikingly different personalities, the three women were friends and lived in overlapping, immensely stimulating New York City circles. Susan Henry explores their pivotal roles in their husbands' extraordinary success and much more, including their problematic marriages and their strategies for overcoming barriers that thwarted many of their contemporaries.

One night after midnight social workers brought a baby girl to the author's home, and her life as a foster mother began. A social worker herself, Gerstenzang discovered that raising Cecilia, deespite all the personal joys, would be a complex and frustrating process of "co-parenting" with the foster care system in New York City. Foster parents are in great demand, but they are not necessarily treated well. We follow the author through the home visits, the Early Intervention evaluation, the WIC program that (with much bureaucratic hassle) provides free formula and cereal, and the mandatory parenting training sessions. She comments, "When Michael and I became foster parents, we learned how stigmatizing, demoralizing, and just plain inconvenient and time-consuming being part of the 'unentitled' population can be. With the exception of Early Intervention, we often felt that the programs were more concerned with regulating our behavior than with providing services."

Regular meetings with the birth family were also part of the process. Not only were they awkward for all concerned, but each visit involved a commute of several hours. One social worker admitted that she preferred a foster parent who didn't work because that person could more easily comply with the time-consuming regulations. Sarah and her husband Michael also agonize over complying with special regulations about hiring babysitters or traveling ("anytime we left New York State we needed to ask the agency's permission, which in turn had to get the signed consent from the birth mother").

Central to Another Mother is the issue of transracial placement. Sarah remembers, "That first day the contrast between my pale skin and Cecilia's brown skin seemed glaring. Not only did I feel that I had someone else's child, I felt that I had a child from another culture. Would I owe someone an explanation?" (Gerstenzang is recalling the 1972 opposition of the National Association of Black Social Workers.) Her account is full of anecdotes and reflections about race: acceptance and prejudice from others; the feelings of her two children about having a sibling of a different race; and culture keeping, beginning with skin and hair care.

Anthropology at the Front Lines of Gender-Based Violence is a broad and accessible volume, with a truly global approach to understanding the lives of front-line workers in women's shelters, anti-violence organizations, and outreach groups. Often written from a first-person perspective, these essays examine government workers, volunteers, and nongovernmental organization employees to present a vital picture of practical approaches to combating gender-based violence.

It almost goes without saying that the rise in popularity of television has killed the audience for “serious" literature. This is such a given that reading Fitzpatrick's challenge to this notion can be very disconcerting, as she traces the ways in which a small cadre of writers of "serious" literature--DeLillo, Pynchon, and Franzen, for instance--have propagated this myth in order to set themselves up as the last bastions of good writing. Fitzpatrick first explores whether serious literature was ever as
all-pervasive as critics of the television culture claim and then asks the obvious question: what, or who, exactly, are these guys defending good writing against?
Fitzpatrick examines the ways in which the anxiety about the supposed death of the novel is built on a myth of the novel's past ubiquity and its present
displacement by television. She explores the ways in which this myth plays out in and around contemporary fiction and how it serves as a kind of unacknowledged discourse about race, class, and gender. The declaration constructs a minority status for the “white male author” who needs protecting from television's largely female and increasingly non-white
audience. The novel, then, is transformed from a primary means of communication into an ancient, almost forgotten, and thus, treasured form reserved for the well-educated and well-to-do, and the men who practice it are exalted as the practitioners of an almost lost art.
Such positioning serves to further marginalize women writers and writers of color because it makes the novel, by definition, the preserve of the poor endangered white man. If the novel is only a product of a small group of white men, how can the contributions of women and writers of color be recognized? Instead, this positioning abandons women and people of color to television as a creative outlet, and in return, cedes television to them. Fitzpatrick argues that there's a level of unrecognized patronization in assuming that television serves no purpose but to provide dumb entertainment to bored women and others too stupid to understand novels. And, instead, she demonstrates the real positive effects of a televisual culture.

Violence as a way of life, and murder as a political tool. This philosophy is nothing new to Mexico, most recently demonstrated in the wave of assassination and indiscriminate killing brought on by the drug war gripping the country. In Artful Assassins, author and scholar Fernando Fabio Sánchez unveils the long record of violence inspiring artistic expression in Mexico, focusing on its use and portrayal in film and literature. Sánchez is uniquely positioned to explore this topic, through his work as a novelist and poet in Mexico before entering academia in the United States.
Sanchez argues that the seemingly hopeless cycle of violence experienced by Mexico in the 20th century, as reflected in its "crime genre," reveals a broader intrinsic cultural and political failure that suggests grave implications for the current state of crisis. Tracing the development of a national Mexican identity from the 1910 Mexican Revolution onward, Sánchez focuses on the indelible presence of violence and crime underlying the major works that contributed to a larger communal narrative.
Artful Assassins ultimately offers a panoramic overview of the evolution of Mexican arts and letters, as well as nationalism, by claiming murder and assassination as literary and cinematic motifs. The collapse of post-revolutionary political unity was presaged all along in Mexican culture, Sanchez argues. It need only to have been sought in the art of the nation.

Written by a leading activist in the transgender movement, Becoming a Visible Man is an artful and compelling inquiry into the politics of gender. Jamison Green combines candid autobiography with informed analysis to offer unique insight into the multiple challenges of the female-to-male transsexual experience, ranging from encounters with prejudice and strained relationships with family to the development of an FTM community and the realities of surgical sex reassignment.
For more than a decade, Green has provided educational programs on gender-variance issues for corporations, law-enforcement agencies, social-science conferences and classes, continuing legal education, religious education, and medical venues. His comprehensive knowledge of the processes and problems encountered by transgendered and transsexual people—as well as his legal advocacy work to help ensure that gender-variant people have access to the same rights and opportunities as others—enable him to explain the issues as no transsexual author has previously done.
Brimming with frank and often poignant recollections of Green’s own experiences—including his childhood struggles with identity and his years as a lesbian parent prior to his sex-reassignment surgery—the book examines transsexualism as a human condition, and sex reassignment as one of the choices that some people feel compelled to make in order to manage their gender variance. Relating the FTM psyche and experience to the social and political forces at work in American society, Becoming a Visible Man also speaks consciously of universal principles that concern us all, particularly the need to live one’s life honestly, openly, and passionately.

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